"I knew him for a good three or four years before I knew he was sick! I was blown back by that, man. I never knew he was sick – he always kinda hid it from me. His music will always be alive and well, and I will make sure to that. He was one of the greatest, man. He was the greatest to ever do it, for the new cats. And for his mother to tell me that I was his favorite producer – I was like ‘Wow, that’s dope, man’. He really took it there. He kinda broadened me and opened my eyes again, and got me standing up straight on my toes, ‘cos that dude was really serious with it. ~ Pete Rock"

“If you were to secretly ask the most praised hip-hop producers, if given a top three, who they fear the most, Dilla’s name would chart on everyone’s list, hands down. ~ ?uestlove, drummer from The Roots”

“Peter Rosenberg: How do you rank Dilla all time producers?”

“I can't begin to explain the influence his mind and ear has had on my band, myself, and the careers of so many other artists. The most humble, modest, worthy and gifted beatmaker I've known...and definitely the best producer on a mic. ~ Black Thought, MC from The Roots”

“Dilla was a good cat. He looked out for me, showing me how to work the SP1200, the 3000, he used to set me up in his basement, and leave me there all night, while he went out the bar or to mess with some chicks. He was real open-hearted, but he could get on some wild shit. We fell out for a minute, but we mended it and it was all good. He just wanted people to hear the music, but I seen him snap off on cats, he was good people though. He just wanted to make music and do his thing. ~ DJ House Shoes”

“That’s how me and Dilla always worked, we had a crazy chemistry. We would just sit there cracking jokes, you know, smoking, he got the headphones on. He’d come up with a beat in like 10 minutes, take the headphones off, the beat’s banging through the speakers. Load it up, make sure the mic’s on, show me where to press play, where to stop at, he’d press record and go upstairs, I’d lay the verse, he’d come back down like done and done. Load the next one up, he’d talk on the phone, I’d lay another song. That’s just how we worked." ~ Phat Kat”

“Q-Tip comes in the room and says, "I want you to hear something". I'm hella excited 'cause either it's a new Tribe song or it's a beat for me. He tells the kid to put the tape in. He does and I hear a ghostly piano loop that has some shakers in it. Too Salsa for me. That was "Runnin'"! He plays another joint and I go crazy over it. That was "The Jam". He explains to me that the noise I keep flippin' over someone holding the repeat button on the SP when its in 1/32! He played another joint, wasn't my speed. I didn't like the Beastie Boy sample at the top. That was "Drop!" The next joint played and only played for 15 seconds. I wanted that one. He explained that it was just an interlude though. I still wanted it. The next joint was hard, organ sounding joint. Sounds like something a west coast artist would take... w:Ice Cube maybe. That was "Gotta Kick Something That Means Something"! I took three tracks and told Tip that I wanted to add more tracks to the album. He said cool! Yes!!! I got three tracks from Tip!!! Tip looks at me and says, "I didn't make em...he did." I look at the kid and speak to him and he says "What Up Doe?" "What up, kid? What's your name?" "Jay Dee.”